A Study On The Aesthetic Category Of Opera In Ming And Qing Dynasties

Areas of academic research in today's hot topic of theoretical research, but also difficult problems. As a theoretical basis for the opera art aesthetic category especially. Opera aesthetic categories to refine research first era aesthetic characteristics can represent a category of their own group or family category as the object of study. This article is part of dynastic history category group case study type, that drama theory Ming and Qing Dynasties as the basis, the period of "game","language distinction","novelty","talented","seyi","artistic atmosphere" these six areas for the study of aesthetics, which restore text to tracing the Origin reveals the essence of the concept of meaning, interpretation of the scope of the essence, the map depicts the inter-group category.Specifically, besides the introduction and conclusion, the full text is divided into six chapters.The introduction part first clearly different from western China category study characteristic, and then mainly introduces the Ming and qing dynasties drama aesthetic category research status and literature review.Finally summarizes the selected topic significance and main contents in this paper.The first chapter."Game" of the Chinese and western of ancient topic, and opera has deep historical origin, in the Ming and qing dynasties drama theory, the game with entertaining function and fusion of virtual reality into the unique category of drama aesthetics.Opera entertaining game in the form of two aspects, namely swam in the opera, enjoy banter;Literati game, play music, love."By the false or true, samadhi" and "play, also not play; also not play also, play" also become essential feature of virtual game together.Opera entertaining and free entertainment functions because of the game was fully revealed, with virtual reality and in literati over to Ming and qing dynasties era, writer will and with the game mentality ShuQing, gallop on ink game, game to obtain his samadhi.The second chapter Language Distinction." Language Distinction " the concept of a long historical development, as a narrative of the language distinction has the didactic and fictional features, it will be closely linked with the drama. Ming aesthetic categories become opera language distinction, it is the theory of the Ming and Qing drama, with "under the guise of metaphor, allegory World Wind" and "because things language distinction, intended to send care Xing" as the main feature of the Language Distinction enlightenment, and fully reveal the social function of the Ming and Qing drama; used "no real legend, most of Language Distinction s" and " Language Distinction reversed absurd death leisurely root" as the main core of the allegorical interpretation of the fictional narrative problems Ming drama. Thus, the educational function and fiction language distinction based integration.The third chapter is novel."Novelty" as a characterization of drama narrative aesthetic category, it is important esthetics characteristic of the main ways-the legendary drama in the Ming and qing dynasties.By "nonsingular don't preach" and "the new don't preach" as the core of "novelty", is the aesthetic characteristics of "legend".From the development history of the concept of "legend" and "not pass" the connotation of the term, they are inseparable in common-novelty.From the Ming and qing dynasties drama narrative point of view, the category of "novelty" experienced by the "chi" and "illusion" and "new" release ","conversion process, in the unity of odd "and" true "in perfecting their connotation."Novel" the aesthetic connotation of the main performance is:one is strange not preach;2it is matter with affection, this can be from the legends of the Ming and qing dynasties to the plot structure innovation as the purpose and music theory to examine the new wonders.The fourth chapter talents."Intelligence" of a long history and is more complicated. Belonged to category of Chinese classical literary theories "talents" always on "sex" and "love","love" and "reason" to make its connotation in the contradiction movement of rich and varied, especially in the Ming and qing drama, from vulgar and elegant, the elegant vulgar, and low constant rotation, but the main theory of emotion is always dominant altar, literati their talents has become a kind of fashion."Talent" as the Ming and qing dynasties drama aesthetic subject characterization and has rich aesthetic characteristics.It experienced by the focus on theory of "only" to the primary affection to the "intelligence" into the enlightenment of colour such three stages, concrete manifestation is:one is "only" rather than "love", represented by wang shizhen, this kind of concept of talents and charactor of the wei and jin dynasty "only" in the wind.The second is "intelligence" and slide to give priority to with feeling, said that romance or main sentiment theory, harmonized appearances and hair, because of love, represented by tang xianzu's "romance", said li zhi "childlike innocence" in yangming philosophy and enlightening influence, such as dominant.Shang Shi "romance" advocated by "interest and expression" as the main content, and put forward "because of love into the dream, the dream to play" and "Richard nothing, will love there will be a" such important proposition, enrich the connotation of "romance", Shang Shi is given priority to with the "romantic" view of talents affect a large number of Ming dynasty music theorists, such as zhang, Pan Zhiheng, feng menglong and Meng Chenshun, etc.Three is from the "chi" to "teach", in constant debate between sex and affection and emotion and reason, the composition of mixed with indoctrination in "talent" is becoming more and more from zhang's theory of "chi" to "teach" feng menglong said to meng said of "love", indicates the talents and enlightenment of constantly fusion, make the drama in Ming and qing dynasties "romance" as the intelligence theory and language distinction indoctrination theory of entanglements.Altar, about drama what is romance, enlightenment, or entertainment such as a matter of drama aesthetics ontology and function, has always been debated, and always be accompanied by today, which influence the development of Chinese drama.The fifth chapter SeYi."Talent" and "SeYi" although fellow opera aesthetic subject category, but with a focus on the writer's "talents","SeYi" is about the problem of opera stage main body beauty, the performing subject is the actor at the drama centre.There fore,"SeYi" is actually the actors on stage in terms of the aesthetic subject."SeYi" connotation is rich, it embodies the actor is given priority to with enshrouded beauty of inner beauty and outer beauty organic unity;More major, but also the actors sing read do play as the height of the characteristics of the aesthetic form of performance art.Actors of the yuan dynasty SeYi evaluate requirements "SeYi burden off, put forward by the specific standard is hu only Yu said "nine";Xia Tingzhi the brothel set is tasting the yuan dynasty female artist SeYi aesthetic practice.In the Ming dynasty opera performance aesthetics is to further expansion of the yuan dynasty, mainly represented by tang xianzu and Pan Zhiheng."Due to a god" is the main aesthetic realm of tang xianzu actor SeYi theory;And "to" and "hui" with "to", have become the core content of theory of Pan Zhiheng actor SeYi beauty.Shang Shihe by SeYi theory makes the performance of Ming dynasty aesthetics towards "YiDao" and "god" to the direction of development.Theory of opera in qing dynasty, the actor's SeYi changed again, to "capacity" and "melody" as the main content of the SeYi deepen the connotation of aesthetic of the opera performances, embodied in:one is the "state" of acoustic capacitance that is a delegate with li yu actor SeYi theory of the core, at the same time, the director li yu's theory systematically, to strengthen the role of the director in the actor training.The second is the qing dynasty, the flower of war, to strengthen the actor SeYi evaluation, in order to "eliminate cold new poems" as the main representative, the actors evaluate SeYi samadhi, to "help","light" and "god" as the aesthetic standards, this has to do with Pan Zhiheng performance theory from afar has the same effect.The sixth chapter Artistic atmosphere."Artistic atmosphere " originally from Poetry, Song was later used extensively for literary theory criticism among its meaning becoming more complex, especially with "When the line" along with the introduction of Chinese opera drama theory and criticism as its language, always accompanied with colors Debates between schools, which continue to enrich its aesthetic connotations, matures. To the Ming and Qing dynasties, with the development of the theory of mature drama, character theory perfected. In the eyes of the Ming and Qing song on the home, its "nature" within the meaning of their own, not the same:refers to the language or style, or text vulgar questions or refer melody sound legal issues or problems, and so refers paraded across the stage. In short,"nature" is mostly studied in the debates and propose ideas In addition to the relationship between "when the line" and the "nature" of the debate, the true nature of the Ming and Qing drama theory there Debate:Natural and Man term struggle, mainly for wind parallel prevalence of early Ming-chi's terms; qualities faction and parallel Korea faction battle, mainly around "The West Chamber","Pipa" and "worship the Moon," the compete conducted; diction School and Rhythm faction dispute, in fact,"Tang Shen dispute." Dramatic Theory "nature" research has yielded fruitful results in these areas is one of the most mature, but also further expand.The conclusion, on the one hand is the full text summarizes the main content, deepen the relationship between the six categories, and the reconstruction of the Ming and Qing drama complete theoretical system of aesthetics propose ideas to further the theoretical value of Ming and Qing Dynasty and contemporary aesthetic category research significance.